Bridget Jones with a chainsaw: don’t be surprised if this is one of the more popular beach-reads of the summer.
Sick of all those losers you’ve been dating? Send them to Cassandra’s: she’ll have them shaped up in no time.
Best known for his tongue-in-cheek “Rex” dinosaur p.i. mystery series, Garcia (Matchstick Men, 2002, etc.) shows himself an adroit student of the chick-lit genre—before giving it a serious goosing. Cassandra French is likable, all things told, even though at 29 she’s a self-involved in-house lawyer for a big movie studio with a bevy of annoying ticks (such as assigning herself letter grades in all aspects of life). Still, she generally comes off as well meaning. It doesn’t hurt that her two best friends, Claire and Lexi (the latter, like her dogs, is “beautiful, vicious, and easily distracted”), are even shallower, so Cassandra’s general lack of interest in work or anything outside finding a man or dealing with her under-house-arrest mother, doesn’t look so bad. Garcia pulls off a pretty amazing sleight-of-hand here: just when he has you settling into a vacuous, glittery, forgettable read, he drops the bomb. The finishing school of the title isn’t a metaphor, and those “boys” in Cassandra’s basement whom she’s always running home from the office to feed aren’t dogs. They’re three men she’s kidnapped and kept, chained and drugged, while she puts them through a months-long program of cultural, social, and sexual etiquette training. Even though they’re cuffed and weak from all the morphine and low-protein foods, the guys—all buffoons who disappointed her in some fashion, including one who pulled a drunken grope during a blind date at a baseball game—appreciate what Cassandra’s doing for them. This proves helpful when a fourth one (Brad Pitt–hot actor Jason Kelly) gets chloroformed and tossed into the population after seducing Cassandra for less-than-romantic reasons. Garcia knows the conventions so well that his satire slithers by almost unnoticed.
Bridget Jones with a chainsaw: don’t be surprised if this is one of the more popular beach-reads of the summer.Pub Date: June 1, 2004
ISBN: 0-06-073031-5
Page Count: 304
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2004
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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